Entered  according  to  Act  of  Congress,  in  the  year  1888. 

By  M T.  WYNNE, 

in  the  office  of  the  librarian  of  Congress,  at  Washington,  D.  C 


HOW  TO  PAINT 

y 


Wr'tten  by  EMMA  HAYWOOD. 


Published  by 

M.  T.  WYNNE, 

65  EAST  13th  STREET, 


tT e-w  crfc. 


c o/y 


WILLIAM  KNOWLES,  PRINTER, 
104  E.  13th  St.,  New  York, 


g&peisiry  fainting. 

The  beautiful  modern  art  of  Tapestry  Painting 
is  a French  invention.  It  is  adapted  for  decorat- 
ing public  buildings,  such  as  theatres,  hotels, 
churches,  mansions,  as  well  as  for  smaller  dwelling 
houses.  It  is  also  very  useful  for  upholstering 
furniture,  for  portieres,  curtains,  screens,  and  other 
decorations,  being  both  durable  and  permanent. 
The  true  method  needs  only  to  be  known  to  be 
appreciated.  The  false  method  of  painting  Tapes- 
try in  oils  has  hitherto  been  a bar  to  the  progress 
of  the  real  art  in  this  country.  Painting  in  oils  is 
at  best  only  an  imitation,  and  sprung  up  through 
the  want  of  knowing  how  to  use  the  dyes.  The 
dyes  proper  for  Tapestry  painting  are  trans- 
parent, and  in  this  lies  its  chief  beauty.  Any  one 
with  a fair  knowledge  of  drawing  and  coloring  may 
paint  with  tapestry  dyes  if  they  will  carefully 
follow  the  directions  hereafter  given.  Doubtless 
practical  lessons  are  of  great  advantage,  but  since 
there  is  a distinct  method  for  this  kind  of  work,  it 
can  be  learned  through  the  medium  of  written 
directions.  This  little  hand-book  is  in  effect,  a 
second  edition  of  one  already  published  by  the 
same  author,  but  it  has  been  deemed  advisable  to 
almost  re-write  it  because  when  first  published  the 
Grenie  dyes  were  not  on  the  market,  and  these  far 
exceed  any  others  for  Tapestry  painting. 


— 4 — 


trials  Inquired. 

The  outfit  is  not  expensive,  the  dyes  being  very 
strong,  and  always  mixed  with  medium  and  a 
certain  percentage  of  water.  Brushes  are  specially 
made  for  tapestry  painting ; at  least  a dozen  will 
be  required.  Also  a glass  palette,  some  small  jars, 
a wooden  frame  or  stretcher,  a pounce  bag  and 
pen-knife  or  steel  eraser. 

A word  of  explanation  may  be  acceptable  with 
regard  to  the  different  kinds  of  dyes  on  the  market. 
All  are  French  dyes,  even  when  prepared  in  this 
country  for  use,  they  come  in  powder,  but  the 
manner  of  preparing  them  makes  all  the  difference 
as  to  results.  The  Grenie  dyes  are  indelible  by 
reason  of  the  medium  used  and  certain  chemicals 
mixed  with  them  to  make  them  permanent.  The 
indelible  dyes  always  bear  the  name  of  Grenie 
on  the  label.  A medium  specially  prepared  for 
use  with  them  and  quite  indispensible  is  sold  in 
a liquid  state.  No  color  must  at  any  time  be 
applied  without  adding  some  of  this  medium.  The 
dyes  are  thirteen  in  number  and  it  is  possible 
though  not  advisable  to  paint  with  ten,  the  remain- 
ing colors  being  merely  varied  combinations  of 
the  solid  tints.  All  dye  colors  are  very  crude  and 
strong,  therefore  in  nearly  every  instance  require 
toning  with  complimentary  shades.  The  colors 


— 5 — 


that  are  mixtures  are  brown,  grey,  and  grey  green. 
Brown  is  a mixture  of  indigo,  sanguine  and  yellow. 
Grey  is  a mixture  of  indigo,  cochineal,  yellow,  and 
a little  sanguine.  Grey  green  can  be  made  with 
indigo  yellow  and  cochineal.  Everything  depends 
on  the  proportions  for  a given  shade.  Indigo, 
cochineal,  grey,  brown  and  grey  green  must  always 
be  shaken  up  before  use,  because  a sediment  forms 
at  the  bottom  and  this  ingredient  is  necessary  for 
the  proper  fixing  of  the  colors.  It  might  be  well 
to  mention  that  mixed  colors  change  after  being 
kept  for  a time  ; for  instance,  brown  will  some- 
times assume  a purple  hue.  This  can  be  rectified 
by  adding  sanguine,  and  yellow  also,  if  necessary. 

With  regard  to  brushes,  only  those  especially 
made  for  the  purpose  are  of  any  use.  They  are 
stiff,  bristle  brushes,  cut  in  the  shape  of  a chisel. 
(See  illustration.)  About  a*  dozen  of  assorted 
sizes  will  be  required.  One  or  two  extra  large 
brushes  must  be  added  for  sky  painting.  It  is 
best  to  buy  a double  varnish  brush  for  skies,  and 
cut  it  down  a little,  so  as  to  stiffen  it  by  short- 
ening the  bristles.  The  size  must  depend  on  the 
space  to  be  covered.  For  a large  sky  a two-inch 
brush  will  not  be  an  excessive  size.  The  glass 
palettes  are  merely  slabs  of  glass,  about  14x20 
inches  is  a useful  shape.  Plate  glass  is  the  best, 
because  least  breakable ; it  should  be  painted 


— 6 — 


white  on  the  wrong  side.  If  laid  on  a white  cloth 
it  will  serve  the  same  purpose.  Small  jars  are 
necessary  for  the  mixing  of  large  washes  of  color. 
The  canvas  must  be  stretched  firmly  on  a wooden 
stretcher.  For  large  work  an  adjustable  stretcher, 
with  screws,  like  that  shown  in  the  illustration, 
should  be  used.  For  small  work,  wooden  frames 
of  lighter  make  are  sufficient,  but  with  these  a firm 
rack  easel  with  a square  base  will  be  necessary,  on 
account  of  the  force  used  in  scrubbing  in  the  color. 
The  adjustable  stretchers  can  be  fixed  by  means 
of  a cord  attached  to  a hook  in  the  wall.  They 
should  incline  slightly  forward  at  the  top  so  as  to 
prevent  the  color  running  down  the  canvas. 
In  stretching  the  canvas  great  care  must  be  taken 
to  keep  the  ribs  even,  or  when  taken  out  the  draw- 
ing will  be  askew.  A handy  table  for  holding 
materials  is  about  one  foot  ten  by  two  feet  six, 
with  a strip  of  wood  nailed  round  three  sides  of  it, 
rising  at  least  an  inch  above  the  level  of  the  table 
surface.  This  is  to  prevent  the  brushes  rolling 
off  and  bottles  tipping  over.  The  penknife  or 
steel  eraser  must  not  be  too  sharp,  and  should  in 
all  cases  be  rounded  at  the  point.  As  will  be 
seen  later  on,  this  eraser  may  truly  be  called  the 
artist’s  best  brush. 


— 7 — 


B.  GRENIE'S  INDELIBLE  TAPESTRY  DYES, 


LIST  OF  COLORS. 


No.  i INDIGO. 

“ 2 ULTRAMARINE. 

“ 3 ROSE. 

“ 4 PONCEAU  (Vermilion) 

“ 5 COCHINEAL. 

“ 6 INDIAN  YELLOW. 


No.  7 SANGUINE(BurntSienna 
“ 8 BROWN. 

“ 9 GREY. 

“ io  VIOLET. 

“ ii  GREEN  (Emeraude). 

“ 12  GREY  GREEN. 

“ 13  BLACK. 


COCHINEAL  AND  INDIGO,  1 oz.  Bottles,  30  cents  each. 

All  Other  Colors, 20  “ 

SPECIAL  TAPESTRY  MEDIUM,  Pt.  Bottles  35 


^ C TIO 


(^anyas. 

With  regard  to  Canvas  : this  is  really  the  most 
expensive  item,  as  it  is  useless  to  attempt  finished 
work  on  an  inferior  quality.  The  best  will  always 
be  found  the  cheapest  in  the  end.  It  comes  in 
coarse  and  fine  rib  of  heavy  make,  the  quality  is 
the  same  though  the  coarse  rib  looks  more  like  the 
real  Gobelin’s  tapestry  than  the  fine.  When,  how- 
ever, the  faces  are  very  small  it  is  better  to  use  the 
fine  make.  Wool  Canvas  is  always  used  for 
finished  work  intended  for  steaming  and  possesses 
the  immense  advantage  of  being  capable  of  cor- 
rection which  is  not  the  case,  to  the  same  extent, 
when  painting  on  linen  or  silk.  Again  the  dyes 
cannot  be  fixed  by  steaming  on  anything  but  wool 
or  silk.  Although  the  colors  will  last  for  years 
when  painted  on  linen  or  cotton  they  cannot  be 
said  to  be  indelible.  Tapestry  Canvas  is  the  in- 
vention of  A.  Binant,  a Frenchman.  It  exactly 
imitates  the  Gobelin’s  stitch.  Both  sides  of  the 
canvas  are  alike.  Other  makes  are  on  the  market 
but  they  are  not  nearly  so  good  although  the  same 
price  is  charged  for  them.  The  woolen  canvas  is 
of  a delicate  creamy  tint.  The  linen  comes  in 
white,  cream,  ecru  and  drab.  Linen  canvas  is  used 
for  the  decoration  of  ceilings  with  excellent  effect 
especially  the  coarsest  and  strongest  make  in  drab. 


— 9— 


Silk  canvas  is  made  either  ribbed  or  twilled,  gen- 
erally in  ecru.  It  is  obtainable  in  white  but  the 
quality  is  not  so  good.  There  is  a soft  make  of 
woolen  canvas  that  comes  cheap,  costing  only  $3 
per  yard.  This  is  used  for  bed  spreads,  carriage 
blankets,  couvre  pieds,  sofa  cushions  and  an  endless 
variety  of  articles  in  constant  use  capable  of  decora- 
tion. Very  rich  curtains  are  made  by  putting  a 
dado  and  frieze  or  a border  of  painted  tapestry  on 
plush,  flax  vellours  or  on  plain  or  brocaded  material 
more  or  less  rich.  Linen  or  silk  is  best  for  the  last 
named  purpose.  When  painting  on  silk  it  is  neces 
sary  to  use  softer  brushes.  As  the  silk  itself  serves 
for  a back-ground  Renaissence  scroll  work  comes 
well  on  it  or  semi-conventionalized  flowers.  Tapes- 
try dyes  also  work  beautifully  on  other  materials 
such  as  mole  skin  or  thin  silk.  On  Bolton  sheeting 
they  are  used  for  tinting  and  embroidery  combined. 
They  serve  also  for  dyeing  lace  any  color  for  the 
trimming  of  lamp-shades. 


10  — 


Adjustable  §treteber. 


o 

G 

o 

G 

© 

O 

o 

& 

o 

o 

0 

o 

o 

G 

o 

o 

~ i 

^ > 

p, 

0 

© 

O 

G 

G 

e 

G 

0 

O 

o 

o 

0 

0> 

■ 

o 

o 

o 

o 

o 

0 

o 

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0 

0 

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0 

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$ 

>0009  ooo«oc 

h - 

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o 

— 11  — 


A.  BINANT’S  CANVAS,  Wool,  Silk  and  Linen 

(SaPEST^Y  (©ANYAS  AND  BRUSHES. 

LINEN  TAPESTRY  CANVAS. 

No.  Width,  Inches. 


I 

84 

Coarse  Thread,  Best  Quality. 

I 

122 

<<  <<  <<  << 

2 

84 

Fine  “ “ “ 

5 

56 

Coarse,  dark. 

7 

36 

Fine. 

8 

84 

Fine. 

9 

54 

Medium. 

10 

54 

Coarse  Thread. 

1 oB 

40 

<<  u 

15 

27 

<(  u 

>5B 

84 

<(  i( 

l6 

40 

Medium  Fine, 

l6B 

36 

Coarse. 

WOOL  TAPESTRY. 

No. 

Width,  Inches. 

1 1 

54 

Fine  or  Coarse  Rib. 

12 

84 

<< 

13 

122 

a a 

17 

5° 

u a 

18 

5° 

u u 

14 

5° 

Silk  Ecru  Color. 

Grey  Moleskin,  width,  27  inches. 

Ivory  White  Moleskin,  width,  27  inches. 
Pearl  “ “ “ 27 

Silk  Bolting  Cloth,  40  inches. 


Enlargements. 

The  next  thing  to  be  considered  is  how  to  make 
enlargements,  a good  drawing  being  indispensa- 
ble, I would  recommend  my  readers,  unless 
they  have  confidence  in  their  own  powers  in  this 
respect,  to  obtain  their  designs  already  enlarge^ 
from  a reliable  source.  Studies  can  be  enlarged 
either  by  scale  or  by  means  of  a pantagraph,  but 
in  the  latter  case  the  outline  requires  artistic  cor- 
rection This  mechanical  instrument  is  of  use  only 
in  giving  a general  outline,  the  detail  often  being 
quite  grotesque.  When  the  outline  is  satisfacto- 
rily corrected,  the  design  must  be  pricked  by  hand 
in  the  finer  parts,  a fine  steel  lace  pin  will  answer 
the  purpose.  For  long  straight  lines  a dressmakers 
tracing  wheel  will  save  much  time.  The  prepared 
design  must  be  pinn@d  in  position  on  the  canvas, 
and  transferred  to  it  by  means  of  pouncing  powder. 
To  make  a pounce  bag  mix  finely  powdered  char- 
coal with  about  an  equal  quantity  of  burnt  sienna 
or  raw  sienna  also  in  powder.  The  reason  for  this 
mixture  is  that  the  charcoal  is  too  light  by  itself 
and  the  earth  too  damp,  but  when  combined  they 
will  be  found  to  work  admirably.  Tie  the  pow- 
dered mixture  up  in  some  coarse  muslin  loosely, 
take  the  pounce  bag  thus  made  in  your  right  hand 
and  rub  it  firmly  all  over  the  design,  commencing 


- — 13  — - 


at  the  upper  part.  Never  return  to  any  part  once 
gone  over,  the  consequence  will  surely  be  a double 
line.  When  the  pouncing  is  properly  done  a per- 
fectly clear  red  dotted  outline  should  be  the  result. 
Remove  the  paper  design  and  with  a finely  pointed 
conte  crayon  No.  2,  go  over  all  the  outlines  care- 
fully and  lightly,  referring  to  your  picture  con- 
stantly, so  as  to  keep  all  the  feeling  possible  in  the 
drawing.  Now  with  a mahl  stick  beat  out  the 
pounce  powder,  and  you  have  secured  your  draw- 
ing and  averted  any  fear  of  the  powder  discoloring 
delicate  tints.  It  is  not  necessary  to  work  from 
colored  studies,  but  when  using  engraving  or  pho- 
tographs, attention  must  be  paid  to  relative  values 
in  tone,  it  is  also  essential  to  make  out  your  entire 
scheme  of  color  before  commencing  work.  There 
is  a great  choice  of  decorative  subjects,  but  the 
four  illustrations  given  will  be  a guide  for  those 
most  suitable  to  this  branch  of  art.  Watteau  and 
Boucher,  subjects  of  figures  with  landscape,  look 
more  like  the  real  Gobelin’s  tapestries  than  any 
other  style. 


J 


-14- 


STEAMING. 

When  the  painting  is  finished  the  dyes  must  be 
fixed  by  steaming,  and  this  any  one  can  do  for 
themselves  at  a moderate  outlay,  if  they  care  to 
have  the  steamer  made  according  to  the  directions 
given.  It  will  be  seen  how  simple  it  is  by  the 
illustration.  Tapestries  can  be  steamed  by  a reli- 
able dyer,  but  dyers,  as  a rule,  cannot  be  induced 
to  steam  them  sufficiently.  The  steamer  consists 
of  a hollow  cylinder  made  of  tin  or  zinc,  fitting 
into  a boiler,  which  stands  on  feet  sufficiently 
raised  from  the  ground  to  allow  of  a gas  stove 
being  placed  underneath  it.  The  gas  stove  should 
be  fitted  with  a Bunsen  burner.  For  ordinary 
work  the  cylinder  should  be  about  five  feet  high 
by  one  foot  in  diameter.  The  boiler,  apart  from 
the  feet,  about  nine  inches  in  depth.  A cross  bar 
of  wood  fits  on  the  top  by  means  of  notches.  The 
second  set  of  notches  should  be  made  two  inches 
from  the  edge,  for  the  purpose  of  fixing  the  tap- 
estry to  them  with  string  passed  through  the  goods 
with  a packing  needle  close  to  the  upper  edge. 
The  tapestry  must  be  loosely  rolled,  allowing  space 
for  the  steam  to  permeate  between  the  folds,  and 
on  no  account  must  the  roll  be  made  large  enough 
to  touch  the  sides  of  the  cylinder,  because,  from 
the  action  of  the  air  outside,  the  steam  is  likely  to 


— 15  — 


condense  on  the  inside  of  the  cylinder,  and  should 
the  tapestry  become  wet  during  the  process  of  steam- 
ing, the  colors  will  run.  It  will  be  well  to  cover 
the  top  with  an  old  woolen  shawl  or  blanket,  to 
prevent  the  steam  escaping  too  freely.  Every- 
thing being  ready,  the  boiler  can  be  filled  three 
parts  with  water,  a thin  cloth  placed  over  it,  and 
the  cylinder  being  fitted  into  its  place,  the  cloth 
can  be  rolled  tightly  around  the  joint  so  as  to  pre- 
vent the  steam  escaping  at  this  point.  Now  light 
the  gas..  So  soon  as  the  steam  escapes  from  the 
top,  which  will  be  in  about  half  an  hour,  you  may 
reckon  to  leave  the  tapestries  in  for  one  hour  more 
at  the  least.  When  time  is  up,  turn  out  the  gas, 
uncover  the  cylinder,  and  quickly  take  out  the  tap- 
estries before  any  steam  can  condense  on  them. 
On  opening  them  out  you  will  find  the  colors 
softened  and  enriched  to  a remarkable  degree. 
Should  oil  be  used  instead  of  gas  for  heating  the 
water,  care  must  be  taken  to  keep  it  boiling,  or  the 
steam  will  condense  and  make  the  tapestry  wet. 
The  cost  of  the  steamer  will  probably  be  from  ten 
to  twelve  dollars,  and  can  be  made  to  order  at  any 
hardware  store. 

When  it  is  not  convenient  to  steam  tapestries  at 
home  in  the  manner  described,  there  are  two  alter- 
natives. One  is  to  take  them  to  a good  dyeing 
establishment ; the  other,  to  lay  them  on  the  table 


— 16- 


face  upwards,  and  wring  out  a thin  cloth  in  cold 
water,  place  it  all  over  the  picture,  then,  with  a 
very  hot  iron,  go  over  the  wet  cloth  until  it  is  dry. 
This  method  of  steaming  is  better  than  nothing, 
but  not  nearly  so  effectual,  as  the  steam  bath.  In 
any  case  the  dyes  will  not  fade  for  years  even  \Aen 
not  steamed  at  all,  but  be  it  remembered  that 
steaming  imparts  a peculiar  softness  and  richness 
not  otherwise  obtainable. 


r 


§>fy  fainting. 

The  best  effects  are  gained  by  introducing  an 
effect  of  sunset  or  dawn.  Begin  by  mixing  some 
indigo  much  diluted  with  medium,  to  which  add 
one-third  water.  Try  your  tint  on  the  palette. 
This  color  steams  up  somewhat  greener  and  truer 
to  nature  for  sky  color  then  when  first  applied. 
Take  your  sky  brush,  and  commencing  at  the  right 
hand  corner  proceed  to  soak  the  canvas  thoroughly 
with  the  paint.  Much  depends  upon  the  manner 
of  scrubbing  the  color  in.  If  not  properly  wetted 
the  canvas  will  dry  up  in  spots.  When  you  have 
taken  the  deepest  shade  of  blue  as  far  as  is  neces- 
sary, dilute  it  a little  and  carry  it  a few  inches 
further  down.  Then  with  a clean  brush  wet  the 
canvas,  as  far  as  a little  below  the  horizon  line, 
with  medium  and  water,  soaking  it  just  as  though 
you  were  using  color.  Now  prepare  some  yellow 
diluted  in  the  manner  already  described  to  a pale 
shade,  also  some  ponceau  in  a separate  glass.  This 
color  is  particularly  strong,  and  great  care  must  be 
exercised  in  using  it.  Now  begin  a little  below  the 
horizon  line  to  paint  in  the  yellow.  Do  not  carry 
this  tint  quite  as  far  as  the  blue.  Next  paint  the 
ponceau  into  the  yellow  and  carry  this  color  above 
the  yellow  blending  it  into  the  blue.  This  blend- 


— 18 


ing  will  give  the  lovely  rosy  purple  shade  so  often 
seen  in  sunset  skies.  Should  there  be  distant  trees 
or  mountains  the  sunset  color  must  be  carried  over 
these  also.  The  sky  should  be  finished  in  one 
painting.  While  wet  more  color  can  be  added  for 
strengthening  if  necessary  and  will  blend  in  a man- 
ner quite  impossible  if  allowed  to  become  dry  be- 
fore re-painting. 

DISTANT  LANDSCAPE. 

When  the  sunset  color  laid  on  the  mountains  and 
distant  foliage  is  half  dry  so  that  tints  laid  over  it 
will  not  run  then  with  a mixture  of  cochineal  and 
indigo  which  will  make,  if  properly  diluted,  a faint 
purplish  shade,  paint  in  the  mountains  and  desig- 
nate the  form  of  the  distant  trees  and  foliage  with  a 
medium  sized  brush.  It  is  possible  to  put  in  trees 
and  mountains  when  the  sky  is  dry  but  you  do  not 
obtain  the  same  atmospheric  effects. 

ROCKS  AND  STONEWORK. 

For  rocks  and  stone  work  it  is  well  to  block  in 
the  drawing  first  with  grey.  When  dry  put  out  on 
your  palette  a little  yellow,  cochineal,  indigo,  san- 
guine and  just  a touch  of  emeraude.  green.  Beware 
of  this  color,  it  dries  far  stronger  than  it  appears 
when  wet.  Have  some  medium  and  water  ready 
mixed,  then  with  a large  brush  blend  all  these  tints 


on  the  stone  work  putting  them  on  separately,  and 
just  dipping  your  brush  in  the  medium  before  put- 
ting it  into  a fresh  color.  When  these  varying 
colors  are  not  thus  painted  into  stone  work  it  looks 
cold  and  dead.  Of  course  care  must  be  taken  not  to 
make  them  so  strong  as  to  be  actually  observable, 
after  modelling  over  them  with  grey.  Grey  or  local 
tone  is  put  over  these  colors  when  quite  dry  by 
means  of  a long-haired  brush  such  as  is  used  in  oil 
painting,  being  dragged  over  the  surface  so  as  to 
impart  the  granular  look  peculiar  to  stone  work. 
A little  green  may  be  introduced  in  parts  to  give 
the  feeling  of  moss.  I n the  f oreground  some  warmer 
color  must  be  worked  into  the  shadows. 

GRASS  AND  FOLIAGE. 

For  grass  and  foliage  a variety  of  coloring  in 
greens  and  browns  must  be  blended  together  as  a 
ground  work,  the  detail  being  put  in  afterwards. 
It  is  easy  to  obtain  the  effect  of  water  on  tapestry 
with  very  little  work.  The  coloring  must  depend 
on  the  general  tone  of  the  picture  ; reflections  are 
in  all  cases  a great  help. 

WATER. 

In  painting  water  the  brush  should  be  carried 
backwards  and  forwards  horizontally  in  broad 
sweeping  strokes  taking  care  to  leave  sparkling 
lights  which  if  too  bright  can  easily  be  toned  down 


— 20  — 


in  the  second  painting.  Whatever  colors  are  used 
in  the  sky  or  objects  casting  reflections  must  be  re- 
peated in  the  water  only  the  colors  must  be  modi- 
fied, for  instance  the  sky  blue  can  be  toned  by  ad- 
ding a little  grey,  and  the  green  reflections  should 
have  some  indigo  and  cochineal  mixed  painted 
into  them.  Reflected  shadows  in  the  foreground 
may  be  warmer  in  tone  ; a little  brown  or  sanguine 
and  indigo  mixed  will  give  the  required  shade.  If 
there  is  a glowing  sunset  to  be  depicted  then  carry 
the  sunset  coloring  right  over  the  space  marked  out 
for  the  water  and  when  dry  paint  in  the  local  color- 
ing as  directed.  Sharp  bright  ripples  can  be  taken 
out  with  the  knife  before  sharpening  up  with  final 
touches. 


— 21  — 


ftksh  Painting. 

For  flesh  painting  there  is  a distinctive  simple 
method  which  requires  really  very  little  practice  to 
master  it,  the  colors  used  are  so  few,  only  four  as 
follows  : Sanguine,  ponceau  or  rose,  yellow,  and 
indigo,  none  others  must  on  any  account  be  substi- 
tuted. The  brushes  for  flesh  painting  should  really 
be  kept  separate  as  everything  depends  on  their  be- 
ing immaculately  clean,  they  are  cleansed  with  soap 
and  water  when  necessary.  Begin  by  putting  out 
on  your  palette  two  shades  of  sanguine  ; for  fine 
work,  take  the  smallest  brush  obtainable  and  put 
in  strongly  and  clearly  the  darkest  markings  of  the 
eyes,  nostrils,  lips,  ears  and  fingers.  Then  with  a 
larger  brush  paint  in  the  broad  shadows  with  the 
paler  shade.  As  a matter  of  fact  the  features  may 
now  be  modelled  as  though  working  in  mono- 
chrome. Be  very  careful  at  this  stage  to  leave  the 
broad  high  lights  untouched.  If  the  eyes  are  to  be 
brown  they  can  be  put  in  with  the  same  color. 
When  this  modelling  is  thoroughly  dry  the  local 
tone  is  washed  over  all  the  flesh,  including  shadows 
also  with  sanguine,  but  so  much  diluted  as  merely 
to  tinge  the  medium  which  should  be  added  to  it 
without  any  water.  For  a dark  sallow  complexion 
add  a touch  of  yellow  to  the  sanguine.  While  this 
local  wash  is  still  wet  and  it  should  be  soaked  until 


— 22 


every  thread  of  the  canvas  is  saturated  with  the 
color,  the  shadows  must  be  counteracted  with  green, 
the  complementary  color  to  red.  This  green  must 
be  made  of  indigo  and  yellow  and  should  be  *a 
bright  grass  green.  Make  two  shades  of  it  of  about 
the  same  strength  as  the  two  shades  of  sanguine 
already  used  for  blocking  in  the  shadows.  Before 
applying  the  green  just  tint  the  cheeks  with  a little 
ponceau  or  rose.  Care  must  be  taken  not  to  allow 
the  green  to  run  beyond  the  shadow  color  or  it  will 
give  a livid  appearance  to  the  flesh.  If  the  red  in 
drying  works  up  too  much  add  more  green.  On  the 
other  hand  if  the  green  is  too  strong  work  in  some 
more  sanguine.  The  sharp  dark  markings  must  not 
be  painted  into  until  nearly  dry  or  the  color  will 
spread.  A little  touch  of  ponceau  will  be  needed 
for  the  lower  lip.  When  the  first  flesh  painting  is 
thoroughly  dry  which  will  not  be  for  some  hours 
although  it  may  appear  so,  then  the  high  lights  may 
be  modelled  by  scraping  gently  with  the  rounded 
point  of  a knife.  The  effect  gained  by  this  is  won- 
derful, inasmuch  as  it  gives  great  finish  because  the 
color  still  lays  between  the  ribs  of  the  canvas  and 
the  knife  takes  that  off  only  on  the  surface,  thus 
imparting  a stippled  appearance.  The  reason  why 
the  color  comes  off  easily  is  because  there  is  a cer- 
tain amount  of  gum  in  the  medium  which  holds  the 
color  provisionally  on  the  surface  of  the  canvas 


— 23  — 


during  the  process  of  painting.  The  steaming  pro- 
cess drives  the  color  in  and  the  gum  out.  After 
scraping  the  lights  put  out  on  your  palette  the  flesh 
tints  already  described.  Make  another  tint  by  mix- 
ing the  green  and  red  together.  If  the  first  paint- 
ing has  been  properly  laid  in  the  mixed  color 
only  will  be  necessary  for  touching  up  and  delicate 
modelling.  Of  course  the  marking  of  the  eyes,  lips, 
nostrils,  ears  and  fingers  must  be  accentuated.  The 
use  of  the  knife  between  the  shadows  and  the  high 
lights  gives  the  pearly  tints  required  for  softening 
the  flesh  tones,  at  the  same  time  blending  the  mas- 
ses of  light  and  shade. 

flair. 

When  painting  hair  it  must  be  laid  in  broad 
masses  of  light  and  shade  much  as  in  other  kinds  of 
painting.  For  golden  hair  the  local  tint  is  composed 
of  a pale  shade  of  yellow  with  a touch  of  ponceau 
in  it  to  give  it  the  tawny  shade  peculiar  to  golden 
hair.  The  shadow  color  can  be  made  by  mixing 
brown  and  yellow  adding  ponceau  if  too  green. 
With  these  colors  any  shade  can  be  made  from 
light  flaxen  to  rich  golden  brown  simply  by  vary- 
ing the  proportions  of  the  component  parts.  For 
dark  hair  shade  with  brown  only  adding  a little  in- 
digo when  wishing  to  make  it  nearly  black.  For  the 


— '24  — 


local  wash  add  some  grey  to  the  brown.  A great 
variety  can  also  be  produced  with  these  colors  for 
dark  shades  of  hair.  After  the  first  broad  painting 
the  detail  can  be  worked  up  when  dry,  using  the 
knife  for  high  lights  if  necessary. 

J7  rapery. 

The  painting  of  drapery  may  be  treated  in  two 
ways:  For  beginners  it  is  best  to  model  all  the 
shadows  before  putting  in  the  local  tint.  * If 
sufficiently  experienced  it  is  sometimes  an  advan- 
tage for  very  delicate  shades  to  put  the  local  color 
in  first  in  a broad  flat  wash.  But  this  is  apt  to  efface 
the  outlines  drawn  in  chalk  to  indicate  the  folds. 
If  the  shadows  are  put  in  first  the  darkest  shadows 
and  the  next  tones  may  be  laid  in,  leaving  the 
more  delicate  half  tones  to  be  added  when  the  local 
wash  is  half  dry.  The  local  tint  is  laid  over  both 
light  and  shade  when  this  is  done  the  first  painting 
is  complete  and  if  carried  far  enough  needs  only  to 
be  accentuated  with  a few  finishing  touches,  re- 
membering first  to  scrape  out  lights  where  they  are 
not  sufficiently  bright,  as  a rule  reds  should  not  be 
scraped  but  the  lights  worked  up  to  because  scrap- 
ing rich  reds  is  apt  to  make  the  high  lights  too 
cold.  Any  kind  of  texture  can  be  reproduced  in  ta- 
pestry painting  if  careful  attention  is  paid  as  to 


Plate  I 


where  the  lights  fall  whether  they  are  sharp  or  soft 
and  also  as  to  the  nature  of  the  reflected  liehts. 

o 

Having  now  described  the  manner  of  painting  the 
various  parts  of  a picture,  I will  proceed  to  sug- 
gest schemes  of  color  for  the  four  accompanying 
illustrations,  pointing  out  how  to  mix  the  different 
tints  required  for  carrying  them  out.  There  is  no 
reason  why  any  desired  shade  should  not  be  repro- 
duced as  all  the  colors  can  be  mixed  with  each  other 
at  pleasure,  so  experiment  as  much  as  you  will. 

PLATE  I. 

The  charming  subject  given  for  our  first  illustra- 
tion may  be  utilized  for  a screen,  wall  panel  or  por- 
tiere. If  for  a portiere  it  should  have  a border  ad- 
ded. Borders  are  always  used  with  real  tapestries. 
The  painted  tapestries  are  however  frequently 
mounted  on  plush  flax  velours  or  other  rich  mater- 
ials, in  which  case  a border  is  unnecessary.  The  fol- 
lowing scheme  of  color  will  be  found  to  work  out 
well.  For  the  girl : petticoat  pale  blue,  overdress 
and  waist  salmon  pink,  hat  and  shoes  pink,  ribbons 
and  parasol  blue,  fichu,  lace  frills  and  hose  and  wig 
white.  The  man’s  coat : rich  violet  velvet  embroid- 
ered with  gold,  lining  pale  yellow,  vest  to  match,  knee 
breeches  pale  lavender,  wig,  hose  and  ruffles  white, 
shoes  black  with  red  heels.  To  obtain  the  desired 
shades  mix  for  the  blue  petticoat  indigo  blue,  grey, 


Plate  II 


. 


' 


' 


-.r  -'x. 


. 


— 20  — 


and  a little  orange  made  with  sanguine  and  yellow. 
This  is  for  the  shadows  only.  For  the  local  tone  a 
wash  of  indigo  very  pale.  For  the  salmon  pink 
dress  shade  with  a mixture  of  brown  and  ponceau. 
For  the  local  tone  take  ponceau  very  pale  with  a 
touch  of  yellow  added.  White  needs  for  its  shad- 
ing nothing  but  grey,  leaving  the  canvas  to  do 
duty  for  the  highest  lights,  a brush  filled  with  med- 
ium only  giving  the  half  tones.  For  violet  mix  in- 
digo and  cochineal  with  just  a touch  of  sanguine  in 
the  deepest  shadows.  Make  the  local  wash  with  pon- 
ceau and  ultra  marine.  Shade  yellow  with  brown  and 
yellow  mixed  using  clear  yellow  for  the  local  tone. 
Pale  lavender  may  be  shaded  with  ultra  marine  and 
ponceau  mixed,  toned  with  sanguine  if  too  crude. 
The  light  wash  must  not  have  any  sanguine  added. 
Begin  painting  the  picture  by  putting  in  the  sky  as 
already  directed.  Only  to  the  right  does  a little  of 
the  sunset  sky  show,  still  it  must  be  laid  entirely 
beneath  the  foliage.  Put  in  the  ground  work  for 
the  foliage  as  directed  under  the  heading  of  distant 
landscape,  and  when  dry  finish  up  the  detail  with 
stronger  coloring.  Follow  the  directions  given  for 
stone  work  while  putting  in  the  stepping  stones. 
Keep  the  water  down  in  tone  and  be  careful  to 
mark  the  reflections. 


PLATE  II. 

This  lovely  and  graceful  subject  after  Rosa 
Bonheur  is  exceedingly  well  adapted  for  tapestry 
painting,  the  warm  coloring  of  the  animals  coming 
well  against  the  landscape.  Full  directions  have 
been  given  for  laying  in  a first  painting  for  the 
background.  When  working  up  the  trunk  of  a tree 
some  coloring  must  be  introduced  to  indicate  mos- 
ses and  lichen,  and  care  must  be  taken  to  indicate 
the  roughness  of  the  bark,  for  much  depends  on  the 
technique  in  tree  painting.  The  forms  of  the  ani- 
mals must  be  blocked  in  just  as  described  for  face 
painting,  that  is  to  say,  the  features,  muscles,  limbs 
and  any  points  accentuating  the  form  must  be 
clearly  indicated.  Paint  in  for  the  shadow  color  a 
mixture  of  brown  and  sanguine.  If  too  warm  in 
parts  add  a touch  of  indigo,  the  local  tone  for  the 
deer  is  a mixture  of  yellow,  sanguine  and  ponceau 
toned  with  a little  shadow  color.  The  high  lights 
are  somewhat  cooler  than  the  local  tone,  and  the 
desired  effect  can  be  obtained  by  scraping  when 
dry.  If  still  too  warm  wash  over  a pale  tint  of  grey. 
The  doe  and  her  young  are  not  quite  so  warm  in 
coloring  as  the  stag,  so  the  local  tint  can  be 
softened  by  adding  grey  to  it.  This  addition  will 
produce  more  of  a fawn  color.  Variety  of  coloring 
must  be  introduced  into  the  grassy  foreground, 
strong  touches  being  required  to  put  the  distant 
landscape  in  its  place. 


Plate  III. 


-28- 


PLATE  III. 

This  exquisite  subject  is  highly  decorative  and 
partakes  of  the  favorite  Boucher  style.  It  could  be 
utilized  for  a three-fold  screen  by  dividing  the 
groups  into  three  parts  ; for  a small  screen  or  sofa 
cushion  by  taking  the  section  on  the  left  hand  side  ; 
for  an  upright  panel  by  using  the  centre  group  only. 
Indeed  there  is  no  end  to  the  way  in  which  this 
charming  and  useful  panel  may  be  re-arranged  to 
suit  almost  any  purpose.  The  scheme  of  color  as 
a whole  might  be  as  follows  : For  the  woman’s  fig- 
ure pale  yellow  dress,  soft  heliotrope  stomacher, 
and  slashings  in  the  puffed  sleeves,  ‘shoes  of  the 
same  color,  white  lace  ruff.  Rich  embroidered 
shawl  of  brownish  terra  cotta,  a deep  sapphire  blue 
of  velvety  texture  clothes  the  little  imp  holding  the 
butterfly  net,  while  the  scarf  twisted  around  the  fall- 
ing figure  might  be  of  a pale  olive  green,  the  hat 
with  a peacock’s  feather  a rich  golden  brown.  The 
little  maiden  carrying  flowers  should  have  a gar- 
ment of  pale  turquoise  blue.  Her  companion  a 
scarf  of  deep  old  pink,  and  a hat  of  soft  greenish 
grey.  The  woman’s  hair  must  be  dark,  the  other 
heads  varying  in  tone  from  flaxen  to  golden  brown. 
The  lute  is  mahogany  color.  Shade  the  pale  yellow 
dress  with  brown  and  yellow  mixed,  adding  a touch 
of  ponceau  if  too  green.  The  local  tint  is  of  yellow 


— 29  — 


only.  If  more  of  a buff  shade  is  preferred  add  a 
suspicion  of  ponceau  to  the  yellow  wash.  For  helio- 
trope mix  ultra  marine,  ponceau  and  sanguine. 
Leaving  out  the  sanguine  for  the  local  tint.  For 
terra  cotta  mix  brown,  rose  and  yellow.  The  same 
for  local  wash  with  less  brown.  A deep  sapphire 
blue  can  be  obtained  by  mixing  indigo,  rose  and 
ultra  marine.  In  painting  velvet  it  must  be  remem- 
bered that  the  lights  are  always  on  the  edges,  and 
the  best  way  to  treat  it  is  to  put  in  a flat  wash  first, 
then  when  nearly  dry  paint  the  shadows  into  it 
again  and  again  until  rich  enough.  For  olive  green 
mix  yellow,  sanguine  and  indigo ; a large  propor- 
tion of  yellow  will  be  needed  for  the  high  lights. 
The  coloring  of  a peacock’s  feather  can  be  obtained 
by  painting  ultra  marine  into  emeraude  green  for 
the  eye,  not  mixing  them  on  the  palette ; red  and 
yellow  tones  must  be  added  in  the  same  manner.  A 
rich  golden  brown  must  be  shadowed  with  brown, 
yellow  and  ponceau  mixed,  using  yellow  and  pon- 
ceau only  in  the  high  lights.  Turquoise  blue  can 
be  made  by  adding  a touch  of  emeraude  green  to 
ultra  marine  much  diluted.  Shade  this  with  ultra 
marine  and  orange,  orange  being  the  complement- 
ary color  to  blue.  For  the  shadows  of  old  pink  mix 
brown,  ponceau  and  grey,  for  the  local  wash  take 
rose  only.  For  greenish  grey  take  indigo,  yellow 
and  cochineal.  Vary  the  proportions  until  you  get 


— 30  — 


the  required  shade.  For  mahogany  color  mix 
brown,  yellow,  sanguine  and  ponceau.  For  the 
high  lights  leave  out  the  brown.  The  effect  of  pol- 
ished mahogany  is  gained  by  paying  great  attention 
to  the  reflected  lights,  the  darkest  shadows  may 
have  a little  indigo  worked  into  them.  Begin  with 
painting  the  sky  according  to  directions  given,  the 
distant  landscape  being  very  pale,  the  pink  blossoms 
can  be  scraped  out  when  the  undertones  are  dry  be- 
fore painting  them  in  with  ponceau.  This  method 
saves  a great  deal  of  time.  For  the  white  fleecy 
clouds  in  the  sky  leave  the  forms  on  the  canvas 
until  the  blue  sky  is  put  in,  then  while  still  wet  take 
a brush  filled  with  medium  only  and  wash  over  the 
white  parts  blending  them  into  blue.  Next  paint  in 
the  figures  according  to  directions  given  under  the 
headings  of  flesh  painting  and  drapery.  When  this 
is  done,  lay  in  the  foreground,  introducing  a great 
variety  of  delicate  coloring  as  a foundation  for  the 
grassy  bank.  When  thoroughly  dry  scrape  out  the 
high  lights  and  put  in  the  sharp  grassy  touches  with 
a rough  brush,  one  that  has  become  a little  spread 
with  use.  A good  color  for  the  foreground  grass  is 
made  by  mixing  yellow  and  grey.  As  a rule  do  not 
use  ultra  marine  in  the  composition  of  greens,  indigo 
is  much  better  for  the  purpose.  Indigo,  cochineal 
and  yellow  gives  a grey  green  ; sanguine,  yellow 
and  indigo  an  olive  green.  Different  shades  can  be 


Plate  IV. 


— 31 


made  by  varying  the  proportions.  Note  well  the 
reflections  in  the  water.  When  the  painting  has 
been  brought  everywhere  to  the  same  point  of  finish 
then  go  carefully  over  the  whole,  using  the  same 
mixtures  for  the  finishing  touches  in  draperies.  If 
the  shape  of  the  picture  is  preserved  as  in  the  illus- 
tration, the  outside  border  should  be  somewhat  ex- 
tended. Any  rich  coloring  appearing  in  the  picture 
itself  can  be  repeated  as  a border  color.  Olive  green 
or  golden  brown  for  preference. 

PLATE  IV. 

Here  we  have  an  entirely  different  but  equally 
appropriate  style  of  picture  which  gives  an  oppor- 
tunity for  very  rich  coloring.  I would  suggest  for 
the  girl’s  dress  a white  satin  skirt,  and  sleeves  with 
rich  old  pink  waist  and  a jewelled  girdle  and  arm- 
lets,  hair  of  light  gold.  For  the  lover  an  olive  green 
coat  embroidered  with  crimson  and  gold,  shoes  to 
match.  Sleeves  lined  with  faded  heliotrope,  leg- 
gings of  the  same  color,  sleeves  and  shirt  white. 
Cloak  deep  crimson,  with  pale  yellowish  green  lin- 
ng,  stripes  of  golden  brown,  instrument  polished 
manogany,  hair  nearly  black.  Shade  the  white 
dress  with  grey  as  before  directed.  Mix  brown, 
ponceau  and  grey  for  the  shadow  color  of  the  pink 
waist,  for  the  high  lights  use  rose  only.  Jewels  are 
painted  with  self  colors.  For  instance;  emeralds 


with  emeraude  green,  rubies  with  ponceau  • 
sapphires  with  ultra  marine  ; the  whole  secret  lies 
in  the  management  of  the  reflected  lights.  The 
high  lights  must  be  left  white  to  give  the  sparkle. 
A very  small  brush  must  be  used  for  painting  jew- 
els, and  the  touch  needed  is  very  sharp,  clear  and 
strong.  For  olive  green  mix  indigo,  sanguine  and 
yellow,  using  yellow  chiefly  for  the  highest  lights. 
For  the  crimson  and  gold  embroidery,  lay  in  a flat 
wash  of  pure  strong  yellow,  when  quite  dry  paint 
the  pattern  of  the  embroidery  into  this  with  cochi- 
neal and  rose  mixed.  If  too  bright  tone  down  with  in- 
digo. All  embroideries  are  painted  after  this  man- 
ner. That  is  to  say,  the  pattern  is  painted  into  a 
flat  wash  of  the  lightest  or  contrasting  tint.  For 
faded  heliotrope  mix  ultra  marine,  rose  and  sanguine. 
For  deep  crimson  use  cochineal,  chiefly  adding  a 
little  ponceau  for  the  lights  and  some  brown  in  the 
deepest  shadows,  if  too  warm  soften  with  indigo. 
For  pale  yellow  green  mix  a little  grey  with  some 
yellow,  adding  more  grey  for  the  shadows.  For 
golden  brown  mix  brown,  yellow  and  ponceau, 
omitting  the  brown  for  the  local  tint.  The  coloring 
for  the  lute  has  been  given  with  description  for 
Plate  III.  The  marble  column  and  seat  in  this 
picture  must  be  treated  as  to  coloring  the  same  as 
stone  work*  but  the  method  of  laying  in  the  colors 
is  somewhat  different.  Take  a very  light  shade  of 


— 33  — 


grey  and  thoroughly  wet  every  part  of  the  marble 
after  having  first  secured  the  drawing  by  modeling 
as  directed  for  stone  work,  then  while  this  tint  is 
wet  paint  in  the  prismatic  coloring.  The  veining 
must  be  put  in  before  the  canvas  is  quite  dry,  so 
as  to  keep  it  soft ; the  shadows  can  be  afterwards 
worked  up  to  the  necessary  finish.  The  water  takes 
the  coloring  of  the  sky  somewhat  modified  for  a 
first  painting.  It  is  afterwards  strengthened  with 
local  shadows  and  coloring.  It  will  be  well  how- 
ever to  carry  the  sunset  color  underneath  it  all  as 
a foundation.  The  foreground  might  be  made  to  re- 
present sandy  earth,  for  this  lay  in  a tint  of  yellow 
mixed  with  a little  ponceau,  and  grey  modified  with 
shadows  of  indigo  and  cochineal  mixed.'  The  foli- 
age can  be  painted  with  colors  already  suggested 
for  the  purpose  with  previous  illustrations.  It  may 
be  remarked  that  the  formulas  given  for  painting 
these  pictures  are  not  arbitrary.  They  are  intended 
to  serve  as  helpful  suggestions,  for  as  in  all  other 
kinds  of  painting  every  artist  is  at  liberty  to  set  his 
own  palette,  following  of  course  certain  fundamen- 
tal laws,  which  all  these  aspiring  to  artistic  work 
should  make  it  their  business  to  master.  There  is 
a fascination  about  Tapestry  Painting  peculiar  to 
itself  and  it  may  be  said  to  specially  commend  it- 
self to  amateurs,  inasmuch  as  it  is  capable  of  high- 
ly finished  effects,  calling  for  comparatively  little 


— 844- 


labor.  Almost  without  exception  those  who  try 
it  become  very  enthusiastic  in  their  pursuit  of 
this  most  charming  art,  which  has  now  been 
brought  to  the  highest  state  of  perfection,  after 
repeated  experiments  and  many  modifications 
during  the  past  few  years.  Further  improve- 
ment as  to  simplicity  of  method  combined  with 
extreme  finish,  beauty  of  coloring  and  unsur- 
passed durability  can  scarcely  be  contemplated. 
Therefore  this  short  treatise  is  offered  to  the  pub- 
lic to  supply  a much  felt  want,  in  the  full  confidence 
that  it  will  be  of  lasting  use,  the  more  so  because 
it  will  be  noted  on  reading  it,  that  there  is  a dis- 
tinctive method  for  Tapestry  Painting,  easy  to  be 
understood  and  put  into  practice,  more  especially 
by  those  having  a previous  knowledge  of  art  how- 
ever slight  in  any  other  branch. 


Emma  Haywood 


